Carter talks to Orian and Felix from Liv Games about the conclusion of the Wars trilogy, Stellar Wars, how they think this is the best one yet, the struggles of trying to succeed in the current market, and the struggles of working as a remote team.

Adam and Alex of One Man Left come back on the podcast to discuss Tilt to Live 2: Redonkulous. Find out how long the title had existed, why the powerup selection in the sequel is so different, and why Classic mode is actually good now!

JJ Williams tells the story of the inspiration behind his new game Pirate Blitz, about his father's boat that was captured by pirates, and how that both did and did not serve as an influence on the final game.

Paul Johnson of Rubicon talks about the ins and outs of Combat Monsters and its multiplatform, free-to-play launch.

discuss Chuck’s Challenge 3D, why the game came out on Android before iOS, the challenges and benefits of developing on one platform versus another, the difference between games that are critical successes and financial successes, and the future of the industry – including if the industry may crash again in the future.

On This Episode:Carter talks to Colin and Sarah Northway, the married traveling independent developers. They discuss their development process, how Incredipede was Colin's idea produced with Sarah's assistance, and how Rebuild is Sarah's idea and project with some assistance from Colin. The mobile version of Incredipede is discussed, as well as the Kickstarter for the upcoming Rebuild: Gangs of Deadsville.

Graveck talks about its new game Strata, goes back in time to talk about the games that put them on the map, 10 Balls 7 Cups and Skee-Ball, and the future for the series, along with if they can live up to the greatest iOS trailer of all time.

Carter and Tom Eastman sit down, like actually in person sit down, and discuss his studio's first two games, Color Sheep and Orion's Forge, and why the former may have succeeded where the latter did not. As well, the third of their planned launch trilogy and why it didn't work out is discussed.

Does a game need narrative justification to be good? As Tom mentions that he's playing Where's My Perry? Carter counters with why he thought Where's My Mickey? was the much better game because its concept was actually justified.